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An erotic underwater love scene, the cheap but colorful motels of the displaced, a tennis match with more than a trophy at stake: Three cinematographers explain how they got their shots, and why they mattered.
In the Martin Scorsese-produced shoot ’em up “Free Fire,†South African actor Sharlto Copley plays Vern, a narcissistic gunrunner in a polyester suit who’s prone to a certain behavioral grandiloquence.
The opening set piece in Paramount’s “Ghost in the Shell†should be soothingly familiar to those who love Masamune Shirow’s groundbreaking manga comic book on which the live-action 3-D movie adaptation was based — at least, insofar as any on-screen shoot ’em up can reasonably evoke fan nostalgia.
Veteran movie producers Jennifer Todd and Michael De Luca landed the job producing next week’s Oscars telecast by pitching the academy a novel concept: They wanted to bring “an overarching tone of joy.â€
Amid the clatter and bustle of an oceanside Santa Monica restaurant, Michael Keaton shrugs, describing his decision to star in “The Founder†as “really pretty simple.â€
More than three decades into one of Hollywood’s most blue-chip movie careers, two-time Oscar winner Tom Hanks has entrenched himself in the public imagination as a baby-boomer version of Jimmy Stewart: an über-American avatar of unimpeachable decency and everyman triumphalism with a shelf full of acting awards and a real-life Presidential Medal of Freedom to prove it.
Once upon a time in Hollywood, the big-screen adaptation of a cherished novel was moviedom’s fair-haired boy.
In the opening sequence of the indie bullying drama “Goat,†Nick Jonas obliterates any vestige of his Disneyfied boy-band past by demonstrating a voracious hunger for drugs, alcohol and freaky sex.
It arrives as a singularly Scandinavian cinematic offering that until last year had somehow never materialized on theater screens: the fiord disaster movie.
The film academy’s actors branch may be loath to admit it, but landing an Oscar nod is a fairly precise science.
